Actors, producers, models, and other artists share, encourage, and reveal their professional experiences, failures, accomplishments and authentic selves.
‘Mindhunter‘ still & behind-the-scenes photographer, Miles Crist, shares his incredible path from knowing the right person at the right time to winning the 8-month job of photographing BTS of ‘Mindhunter‘ for Netflix, jumping from Columbia to Art Center, the demanding surprises of the profession, his passion for films, learning from David Fincher, and working for him again this winter.
Some might consider high-dynamic-range (HDR) displays a technology of the future, but the reality is it’s here now and very much a contemporary delivery format. At the forefront of this delivery is Netflix, the streaming and production giant, which reports that roughly a quarter of the devices used to access its service monthly — more than 165 million — are configured for HDR. As a result, Netflix is making a concerted effort to provide HDR content and currently has more than 1,000 hours of such programming available.
One of these titles is David Fincher’s gritty, period procedural Mindhunter, which earned Christopher Probst, ASC an ASC Award nomination for its pilot in 2017. The series is photographed by Erik Messerschmidt, who notes that production incorporated HDR into the second season. “With Mindhunter, we try to be very subtle with the photography,” says Messerschmidt. “The story and themes of the show are complex and nuanced, so it’s really important that the photography never draws attention to itself. HDR helps because it enables me to be very subtle in my use of color and contrast, particularly in the toe of the exposure. Everyone likes to talk about the bright whites in HDR, but I think perhaps the added range in the shadows is more interesting and more important than added range in the highlights.
“I think cinematographers have always advocated for a better experience for the audience, whether it’s fast film stocks with tighter grain, better projection technology, or higher quality digital-capture and display technologies,” he continues. “HDR is just another step in that direction. Standard-dynamic-range video distribution can only show a narrow exposure band of the modern digital sensor’s dynamic range. The opportunity to use more of the sensor’s range when we want to is a very exciting development.”
If you’ve watched David Fincher’s Mindhunter series about the development of the FBI’s Behavioural Science Unit from the late 1970’s through to 1980s, then you’ll already know there’s a certain kind of meticulousness to the Netflix show in each episode.
Well, that same kind of detail was added even to this promo for season 2 of series that got shown on social media. And it all revolved around…a microphone.
Tasked with creating a mic in between agents Ford and Tench in a police interrogation cell was Territory Studio, which also handled a few other clean-ups in the push-in shot.
Here’s the story, step-by-step, of how Territory – led by VFX Supervisor Simon Carr and VFX Producer Robin D’Arcy – researched the prop itself (even taking a used version apart), modeled it in CG and finished the shot.
Eric Weidt talks about his collaboration with director David Fincher – from defining the workflow to creating the look and feel of Mindhunter. He breaks down scenes and runs through colour grading details of the masterful crime thriller.
Eric Weidt spent years in Paris working with fashion photographers transitioning from traditional film to digital capture workflows. He created custom film-emulation ICC profiles, and mastered color work and compositing techniques for print stills and fashion films.
Clients included Mario Testino, David Sims, Patrick Demarchelier, Mert Alas and Markus Piggot, Steven Meisel, Hedi Slimane, Karl Lagerfeld. His motion picture work for David Fincher includes responsibilies as VFX artist (Gone Girl), and Digital Intermediate Colorist (Videosyncracy and Mindhunter).
He holds a BA in Theater Arts from the University of California at Santa Cruz and is both an American and French citizen.
Charting the development of the FBI’s behavioural science unit in late 1970’s USA, and based on the true-crime book ‘Mindhunter: Inside the FBI’s Elite Serial Crime Unit‘, Netflix‘s TV series required an effortless recreation of time and place.
We worked with the production team behind Netflix’s second season of Mindhunter, initially to produce a promo shot which was published across their social media channels, and then to create some stand-alone VFX shots. The scene shots ranged from creating CG backdrops, torches and microphones, to recreating authentic vehicles and helicopters for search scenes. This fascinating series allowed us to become part of legendary Director, David Fincher’s world.
From promo shots…
With microphones providing a pivotal accessory throughout both seasons, we were asked to create a teaser recreating their iconic first microphone, which also features in the opening credits, in CG. The teaser was used across their official Facebook, Twitter and Instagram channels before the launch of season 2, garnering hundreds of thousands of views.
… to final scene shots…
Providing final shots in 6K meant working in the finest of detail, at the highest quality. Working closely with Fincher, and the producer, Peter Mavromates, feedback was precise and invaluable, making for a smooth and speedy process. From researching types of trees for the woodland car scene, to playing with atmospheric lighting and weather conditions, we enjoyed this project from start to finish.